Indianapolis Times, Volume 47, Number 313, Indianapolis, Marion County, 10 March 1936 — Page 8

PAGE 8

CIVIC THEATER TO PRESENT 'POST ROAD/ STARTING MARCH 21

Play Chosen One of Ten Best of 1935 Production Ran for 212 Performances on Broadway. ‘Post Road,” highly successful play by Norma Mitchell and Wilbur Daniel Steele, is to be presented by the Civic Theater for a week beginning March 21, Frederick Burleigh, director, announced today. The play was produced last year on Broadway by Potter <sc Haight at the Masque Theater. Many of the summer stock companies along the Eastern coast also played it last season. Lucille Watson, Broadway actress who was seen as Lady Emilie in the movie, ‘‘The Bishop Misbehaves,” received her Hollywood contract on the strength of her work in “Post Road.” Percy Kilbride and Romaine Callendar also were in the original cast. The production was chasen by many critics as one of the year’s 10 best play:-. It ran for 212 perfc.mances. ’ The story concerns members of an old New England family living on the Boston Past-rd. They are amazed at the trend in modern life which they encounter for the first time when they open a tourist home. A group of kidnapers evolve a novel plan to avoid detection, but are foiled by the dryly humorous Emily Madison, hostess of the home, when the crooks attempt to hide out there. Maennerchor’s Concert Clicks Chorus, However, Captures Recital’s Honors. Although the Maennerchor presented two Chicago soloists, Eulah Cornor, contralto, and Margaret Lagerquist, pianist, at its third concert last night, it was the chorus itself that captured the honors. These men sing for the love of it, and their enjoyment is reflected in a hearty response to the direction of their veteran conductor, Karl Reckzeh. The program was composed of German choral works which they do best, sung with spirit, precision and satisfying contrast cf dynamics and mood. Miss Cornor’s voice, though light, was for the most part pleasing. She seemed to experience, howevev, difficulties which often beset an operatic singer in concert appearance. Especially in her first group, which contained an aria from Meyerbeer’s “Le Prophete,” Lieder by Tschaikowsky, Brahms, Strauss and Wolf, her interpretations lacked that quality of conviction that such music demands. A fleet technique featured Miss Lagerquist’s performance of Sapelnikoff’s “Elfentanz” and the F Major Etude of Chopin. Her performance was rather superficial which brought her playing far below that to which audiences are accustomed. If the Maennerchor artists’ courses e s past years are to be discontinued permanently, it might be pleasant to hear some of our deserving, and undoubtedly talented local musicians, as the society’s guests. There is plenty of high-caliber musicianship obtainable without journeying far afield. (By J. f.) Decatur Juniors Are to Present Farce “The Blue Bag,” a three-act farce, is to be presented by the Decatur Central High School junior class at 8 Friday night in the Decatur auditorium. Leading roles are to be portrayed by Margaret Dillon. Florence Muir, Robert Blank and Merle Weatherly. The supporting cast includes Harry Dortch, Richard Harding, Victor Morris, Lorina Lindauer, Frank Palmer. Josephine Bishop and Mildred Stout.

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BY NORMAN SIEGEL Hollywood. March 10. Having found the pot of gold, Hollywood now is out to capture the rainbow through movies in color. Color photography today is where the “talkies” were back in 1928 when A1 Jolson revolutionized the motion picture business with “The Jazz Singer.” Backed by the huge fortune of John Hay Whitney, the Pioneer Pictures Corp. is doing what its name indicates. Their first effort was the brief comedy, “La Cucaracha,” which did more business than any black-and-white movie short ever made. They then splurged into color with “Becky Sharp” the flash being a bit too much and tiring to the eyes. At present they’re in production on “Dancing Pirate,” which is being filmed at the United Artists’ Studio. Anew technique is being used in making this feature, one which the producers believe will solve most of the problems that stood in the way of “Becky Sharp” being a huge success. There are only four technicolor cameras in Hollywood today. They cost $15,000 eaech and use three negatives instead of one. One negative photographs red, the other blue and the third green. They’re then synchronized in the developing room. Equally as scarce as the technicolor cameras are cameramen to operate them. There are only three in Hollywood. Two more are being put through a six-month training course. These cameramen have to be more than just good photographers. They also have to be experts in color design and lighting effects. tt tt tt Robert edmond jones, who is supervising the filming of “Dancing Pirate,” is the “Encyclopea Brittanica” of color photography. He is an artist with a thorough background of the theater. He created “Heaven” for the stage production of “Green Pastures.” With Eugene O’Neill, he was in the Provincetown Playhouse and Greenwich Village Theater ventures. He did the sets for John Barrymore’s “Hamlet” and many of the spectacular musical dramas that Leopold Stokowski presented in Philadelphia. Jones knows more about color than the most expert radio announcer does about blurbing breakfast foods. And t’ at’s a lot. Discussing color photography on the screen, Jones points out that in “La Cucaracha” they couldn’t get perfect reds. They were slightbrownish on the screen. This was corrected in “Becky Sharp.” Too much so, for the film was a riot of color. The problem in making color films today is an artistic and not a technical one, according to Jones. What a director puts in front of the camera is what counts. The machine will catch every bit of the spectrum, so the blending of the colors is the important thing. tt tt tt HE also finds that it is hard to follow too many things at once in a color production. His present film will emphasize cool, quiet hues, cutting down on the amount of brighter shades. The action, particularly the comedy episodes which feature Frank Morgan, will be emphasized more than the color. The latter will be incidental, for Jones believes that color is only interesting as it pertains to the action. His color will lead up to the climaxes, which will be bright and vivid. He isn’t interested in using color to gain prettiness and charm, but works on the theory that if it is rightly used, it aids in making the dramatic action more powerful. Acting gains by color, according to Jones, but by the same token it also can be hampered if the color is just splashed on the scene. Jones describes the difference between color films and the conventional black-and-white movies

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by likening them to music. Black-and-white pictures are like a melody, color like a symphony with its many and complicated sequences. tt tt tt “-pvANCING PIRATE” is one of \j the few movies in which all of the outdoor action is being photographed inside. Most of it occurs in a Spanish town which has been built on one of the large United Artists’ sound stages. Jones believes he can capture the color effects better this way. He prefers a painted sky to the ever-changing one out-of-doors. This enables him to catch the exact blue that he wants in the heavens. About 85 per cent more lights are used in taking color film than black-and-white. The old klieg lamps are used instead of incandescent bulbs because the latter throw off too yellow a ray. The colors of the actors’ costumes* are related just as the colors on the canvas of a painting. Asa result, Jones spends weeks before starting a picture designing the costumes he will use. The day we spoke to him, carpenters were tearing down two huge floral archways because the shade of pink in the flowers wasn’t right. Even the animals used in the picture are dyed to get the right color effect. Expert Jones would like to re-

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THE INDIANAPOLIS TIMES

Color marches on in Hollywtod and, remembering the cataclysmic invasion of the talkies, many a star and producer is wondering just where it will e nd. The first great step toward making all-color films was Pioneer Pictures’ production of “Becky Sharp.” N ow Pioneer is making “Dancing Pirate,” a musical romance entirely in Technicolor, a scene from which is shown above. At the far left you can see Frank Morgan and on the platform is Charles Ccllins (hands behind back) who has the title role. In lower picture is Robert Edmond Jones, the noted artist, who is col or designer for Pioneer.

make “Berkely Square” in color, dressing Leslie Howard in bright, gay hues for today and the other characters of over a century ago in muted colors to indicate that period. n u STEALING a march on “Buck Rogers,” he visions the day when motion pictures will be projected into space and the characters will step out of the picture to perform in front of the set. Jones also calls for the use of standard lamps in theater projection machines so that color films can be properly transmitted to the screens. He claims that most theaters today aren’t properly equipped to show these new films as they should be projected. “Dancing Pirate” is scheduled for release on April 17. Adapated from the magazine story 'by Emma-Lindsay Squier, its plot has been reconstructed to meet the needs of the movies. The original story dealt with a pirate who is an expert wood carver. lie is captured and sentenced to death by hanging. Awaiting the end, he starts carving a huge chest for the daughter of the town’s leadirg citizen. She comes to watch him work, and it isn’t long before pirate and daughter are cooing like love birds. The chest never is finished and they get married. In the picture version the pirate is a dancer instead of a wood carver. It’s much more romantic. He really isn’t a pirate but a Boston dancing instructor who is shanghaied. Charles Collins, a Whitney “movie discovery,” takes the part. Frank Morgan and Luis Alberni do the comedy bits and Steffi Duna plays the beautiful and “saving” daughter. Richard Rodgers and Lorenz Hart, prolific tune-writing team, have done the music for the picture. They composed the tunes

fU| I |CI LJ A I I Friday, March ?0 IVI UOIv HALL Saturday, March 21 Cincinnati Promptly at 8 Cincinnati Symphony Orchestra presents Richard Wagner’s Immortal Comic Opera MEISTERSINGER (The Mastersingers!—in English With FREDERICK JAGEL—ARTHUR FEAR—INEZ GORMAN EUGENE LOWENTHAL—SpIendid Supporting Cast, Chorus of 100—SYMPHONY ORCHESTRA of 100 EUGENE GOOSSENS. Conducting TICKETS AVAILABLE AT $1.50, $2, $2.50, $3 (tax free). Send mall orders with self-addressed, stamped envelope to James J. Faran, Ticket Manager, 121 E. Fourth St., Cincinnati, O.

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WEST SIDE O T A T D 2702 W. 10tl St. al A1 Ji Gu y Kibbe “WHILE THE PATIENT SLEPT” Comedy—Novelty BELMONT' “KING OF BURLESQUE” “MAGNIFICENT OBSESSION”^ Din t; 2540 W. Midi. St. ANY Double Feature xx x x Edward Arnold “CHIME AND PUNISHMENT” “THIS IS THE LIFE” NORTH SIDE Ry rrv n Illinois at 34th I I A Double Feature x x “ Victor McLaglen “PROFESSIONAL SOLDIER” “HER MASTER’S VOICE” UPTO WN Doubl* feature *-' x IU,U ’ Jean Arthur “IF YOU COULD ONLY COOK” “THE MAN WHO BROKE THE BANK AT MONTE CARLO" /i a i/>i7 30th and Illinois uAKRKjIV Double Feature VJX LIVIVIVIL Rav Francig “I FOUND STELLA PARISH” “SHE COULDN’T TAKE IT” nrn SI lil v AIK Double Feature kj*. Claudette Colbert “BRIDE COMES HOME” “THE MAN WHO BROKE THE BANK AT MONTE CARLO” lyny . 30tb at North w’t’n. |\iLA Double Feature xvx ' /xx Will Rogers “IN OLD KENTUCKY” “NAVY WIFE” rp t 1 DATT' Talbot & 22nd 1 ALdI )I 1 Doubl * Future x x xxjxx /-xx Shirlev Temple “LITTLEST REBEL” “BROADWAY HOSTESS” n, . r s 19th & College Stratiord Bauble Feature Ltuuuutu Charles FarreU “FIGHTING YOUTH” “IVORY HANDLED GUNS” Mr' C C A Noble 4b Mass, hi Vl Li A Double Feature 94 V< vx xx Edward E. Horton “HIS NIGHT OUT” “THE THROWBACK" ran T? A 2381 Station St. DREAM Double Feature Jean Harlow “HELL'S ANGELS” “STORMY” EAST'SIDE RIVOLI ® s .'&V.5S. U 1 T VJJX Irene Dunne “MAGNIFICENT OBSESSION” “FRESHMAN LOVE”

in New York and sent them out here on records. Two of the hits, which you’ll soon be going “ ’round and ’round” humming are “When You’re Dancing the Waltz” and “Are You in Love?” # tt tt WATCHING Morgan go thruogh a bit of action in the picture, we caught the taking of a balcony scene. Morgan is supposed to be viewing a group of dancers below. The actual dancing episode had been taken a few days before. Morgan, to the accompaniment of a piano which recreated the dancer’s music, went through his “close-up” motions. Below the balcony, and out of. the range of the camera, an assistant waving a white flag went through a flimsy version of the dance so that Morgan could follow the courtyard full of dancing boys and girls.

WHERE, WHAT, WHEN APOLLO “The Country Doctor," starring the Dionne quintuplets, with Jean Hersholt and Dorothy Peterson, at 11:12, 1:18, 3:25, 5:31, 7:38 and 9:45. CIRCLE “Anything Goes,” with Charlie Ruggles and Bing Crosby, at 11:05. 2:50, 6:30 and 10:15. Also “Captain Blood.” with Errol Flynn, at 12:50. 4:35 and 8:15. INDIANA “Follow the Fleet,” with Ginger Rogers and Fred Astaire, at 11. 1:10, 3:20. 5:30, 7:40 and 9.50. KEITH’S “Turn to the Right,” with Federal Players cast under the direction of Charles Berkell. Tonight at 8:15. LOEW’S “Little Lord Fauntleroy,” with Freddie Bartholomew, at 11:05. 1:15. 3:27, 5:38. 7:49 and 10. LYRIC Eddie Peabody with vaudeville on stage at 12:50. 3:34. 8:29 and 9:19. On the screen, “The Prisoner of Shark Island,” with Warner Baxter and Gloria Stuart, at 11. 1:55, 4:39. 7:34 and 10:24. OHIO "In Old Kentucky,’ starring Will Rogers, at 10:57, 1:50, 4:43, 7:36 and 10:02. “The Affairs of Suzanne,” with Zasu Pitts, at 12:20, 3:13, 6:06, and 8:59.

EAST SIDE TITVPrtA 4020 E. New York TUXEDO gaft r x^ “LITTLEST REBEL” “BRIDE COMES HOME” rwY A A All A 24,12 E - Wash. St. TACOMA gag F T e e^ “LITTLEST REBEL” “FRISCO KID ” T r> If IMA 5307 E. Wash. St. I JV V 1 IN tv Norma Shearer XXV t xxv yx Fredrie March “SMILIN’ THROUGH” Comedy—Cartoon EMERSON "RIFFRAFF” “SEVEN KEYS TO BALDPATE” HAMILTON Feature IXXUTXXXXXVII Wallace Beery “AH WILDERNESS” “SPLENDOR” ' Pa n it p n 2936 E> 10th st > ARK K K Double Feature xx xv xx Lilv Pons “I DREAM TOO MUCH” “PERFECT GENTLEMAN” Sm n X VI TA 1332 E. Wash. St. I Iy A IN II Double Feature XX XV Jean Harlow “RIFFRAFF” “THE BRIDE COMES HOME” n a v V 2721 E - Wash. St. K. O I Double Feature “HOT OFF THE PRESS” “CRIME OF DR. CRISTI” n .411 E. Wash. St. Paramount “FRECKLES” Comedy—Novelty SOUTH SIDE FOUNTAIN SQUARE Double Feature Irene Dunne "Magnificent obsession” “THE LONE WOLF RETURNS” SANDERS "S'Mr uxinxyxiivu Barbara Stanwyck “BED SALUTE” “LET ’EM HAVE IT” a Y 7 A T A V Prospect-Churchman AVALON D s F y sr “A NIGHT AT THE OPERA” “INFERNAL TRIANGLE" ORIENTAL u ™~*suna* u Vtvuxniiixi Joel McCrea “SPLENDOR" GARFIELD “IN OLD KENTUCKY” "WHIPSAW”

The two bits will be put together in the final film, and when you view it, Morgan will be looking at the dancers. Morgan also will have to see the film to see what he’s supposed to be seeing from the balcony. He wasn’t around the day they “shot” the big courtyard dancing scene. Such is work in Hollywood. So you can see they color the movies in more ways than one. THE END Started Career in Stock Margaret Callahan, Richard Dix’ leading woman in “Special Investigator,” received her early theatrical training as a member of Stuart Walker’s stock company in Cleveland.

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Federal Players Produce Another Hit at Keith's in 'Turn to the Right' Old Story About Villain Foreclosing the Mortgage Still Proves to Be Excellent Skeleton on Which to Hang Comedy Situations. BY JOHN W. THOMPSON That the old story about the villain foreclosing the mortgage on the homestead is still an excellent skeleton on which to hang comedy situations, is well proved in the Federal Players’ production of “Turn to the Right,” at Keith's this week.

The project swung into its second week of dramatic stock activity last night before another large and enthusiastic audience that enjoyed every moment of the play. Ancient as it may be, “Turn to the Right,” tells a sprightly tale about Joe Bascon, young farm boy who goes to a big city to make good, and goes bad. He serves a year in Sing Sing and returns to his sister. Betty, and his mother. He arrives home just in time to hear about Deacon Tillinger who is threatening to foreclose on Ma Bascon’s large peach orchard and home. Joe also runs across his boyhood sweetheart, Elsie, the Deacon’s daughter, who lets him know that if any trouble comes up she's on his side. Everything looks sort of blue when two of Joe’s prison pals, Muggs and Gilly, pop up. They get their heads together and devise a scheme to outwit the Deacon. Ma's note is $125. So while the Deacon is talking with Joe at the Bascon home, Gilly and Muggs rob the Deacon’s store of that amount. They return and slip it to Joe, who gives it to the Deacon. Then Muggs shoves him out the door, and somehow gets the money back. Gilly then returns it to the Deacon’s safe. Play Goes On This might have been the end of the play, but the authors further complicate matters with the arrival of a detective. He knows Muggs and Qilly, who have fallen in love with Betty and Jessie Strong, a neighbor girls. Joe solves the problem of the large peach crop by making it all into preserves, for which Mrs. Bascon has a mysterious recipe. Sam Martin, another native, goes to New York, lands a long-time contract to supply preserves and the money rolls in. The last act is taken up mostly with showing what they all do with

-MARCH 10,1936

their money. Joe and Elsie are happily married, and Muggs and Betty agree on matrimony as do Gilly and Jessie. Ma is happy because everybody likes her preserves, and even the Deacon cools oft. The play never wanders from simple and obvious comedy. We* doubt if the audience would have liked it any other way. Ned LeFevre cuts loose in an outstanding fashion as Muggs, and is aided by Paul Rouse in the role of Gilly. Betty Anne Brown and Alice Arnold are just as pleasing as they were in “Clarence.” Jack Duval presents his second character role, that of the Deacon, with decided finesse. John Wilson, who took the part of Joe on short notice, doe* well. The play is to be presented each night this week with a matinee Saturday. Next Monday the Federal Players are to stage “Tht Hoosier Schoolmaster.” Actress Catches 17 Mackerel Frances Sage takes to rod and reel on her days off from “The Witness' Chair.” and on her last expedition, caught 17 mackerel. “Dancing Pirate” Gets Call More than. 5000 original stories, plays and novels were read before “Dancing Pirate’’ was selected as the new all-Technicolor musical romance.

MgjjSp fauntleroy) FREDDIE BARTHOLOMEW // W. DOLORES COSTELLO M XS. BARRYMORE